Best drama movie mistakes of 1952

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High Noon picture

Factual error: During the gun battle, Gary Cooper runs behind a building that has an air-conditioner or swamp cooler installed in a second-floor window. (01:17:30)

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Against All Flags picture

Continuity mistake: Near the end of the film, Errol Flynn begins to sword fight with a pirate inside the cabin of the ship. Flynn backs the pirate outside onto the deck. When the scene changes to the deck, Flynn is fighting an entirely different pirate.

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The Quiet Man picture

Continuity mistake: During the extended fight scene, Will Danaher and Sean Thornton go crashing into a hay stack. As they emerge, they announce to the crowd that they are going to fight by the Marquis de Queensbury Rules. As they make the announcement, Sean Thornton's back is covered in hay. As he turns, the camera cuts to follow him, and there is instantly no hay on his back.

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Ivanhoe picture

Other mistake: Before the trial by combat, when Richard Taylor and George Sanders choose their weapons, they are brought to them on their shields. But this happens to quickly, right after the choices were announced, as if predetermined.

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Just For You picture

Continuity mistake: In the scene where Bing Crosby is talking to Ethel Barrymore at a picnic day for the girls of he very snobbish school, he makes a big deal out of taking out a cigarette and lighting it, but in the next shot - no cigarette.

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The Winning Team picture

Factual error: Players didn't wear numbers on uniforms at that time.

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Moulin Rouge picture

Revealing mistake: In the opening scene the Club's dancers are in full-swing, including the tall, lanky gentleman from Lautrec's famous Moulin Rouge poster, the one with the very angular, extended nose and chin. In several closeups it's very plain that the chin is a makeup appliance: the edge of the appliance isn't blended very well with the actor's real skin.

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Limelight picture

Continuity mistake: The pictures on the wall of Calvero's apartment move around during the scenes, particularly the photos flanking the clock on the mantle above the fireplace. A particularly striking example is during the scene wherein Terry recovers the ability to walk. The scene starts off with a photographic-profile-portrait of Chaplin (not decked out as Calvero the Clown) on the left side of the clock and on the right side of the clock, a full-length photo of Calvero the Clown wearing a straw hat, and leaning on his cane, which is held in his left hand. As the scene progresses, the portrait to the left of the clock is replaced by a half-length photo of Calvero the Clown wearing a top hat, with his cane swung across his body, angled up. As Terry realizes she can walk, the portrait re-appears to the left of the clock, and there is nothing to the right of the clock.

Richard Lannom

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